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Grateful Dead Live at Cleveland Music Hall on 1981-03-03




Set 1

Feel Like A Stranger
Peggy-O
Me And My Uncle ->
Big River
Bird Song ->
Looks Like Rain
Big Railroad Blues
Little Red Rooster ->
Deal

Set 2

China Cat Sunflower ->
I Know You Rider ->
Samson And Delilah
He's Gone ->
Drums ->
Lost Sailor ->
Saint Of Circumstance ->
Black Peter ->
Good Lovin'

Encore
Casey Jones


Collection GratefulDead
Band/Artist Grateful Dead
Venue Cleveland Music Hall
Location Cleveland, OH

Source (FOB) Nakamichi 700 (With Bass EQ) -> Cassette Master (Sony D5M/Maxell DXLIIS/Dolby B) D
Lineage Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) ->
Taped by Bob Wagner
Transferred by Charlie Miller

Notes

Patch Info:
(FOB) Sennheiser 421 -> Cassette Master -> CD (shnid=9113) supplies:
Drums (11:54 - 12:11)

Notes:
-- Set 2 is seamless
-- Recorded front row center balcony
-- Thanks to Bob Wagner for lending me his masters

Reviews

Reviewer: kbmill - - June 22, 2015
Subject: bread crumb
Interesting how frequently Casey Jones was played from it's inception through 1974 and then with increasingly rarity over the remaining years. One theory might be they wore it out. Another might be that cocaine became increasingly popular in the late 70's and early 80's, particularly with certain band members, and maybe they didn't enjoy singing about it while they were using. Or, as Bobby always likes to say, maybe they just forgot it.
Reviewer: Go Faster, Get Rounder - - March 12, 2015
Subject: STOP! DOWNLOAD! COME!
Yeah, it is that good, both the recording and the band's playing during this stretch.
Reviewer: ProfIguanaDeadZoneDJwrhu.orgSun6-8pm - - March 3, 2014
Subject: Concur
This is indeed one the great unknowns, or the best show you've never heard about (or heard before), until you listen and you'll have to concur!
Something about the venue, which resembles in size and form the fabled Barton Hall, albeit a bit more ornate and slightly smaller. Nevertheless, the airy spaces, starting with Winterland of course, were always conducive to the great modulations in Dead performances.
All that aside, this is just one of those performances that is extra special. For me, there isn't a better China>Rider bridge than the one that opens the second set.
Reviewer: sourkrout - - January 21, 2014
Subject: Sweet Aud.
This is a very nice audience recording from one of my favorite eras of the Dead. As already stated, this is a great show top to bottom. They were normally on fire during this time. I have the board and I used to be quick to dismiss an aud. But this recording makes me think twice. More enjoyable than the board imo. 5 stars all around.
Reviewer: jjg4762 - - September 27, 2012
Subject: Who needs a board
Who needs a sound board when the show smokes like this one here. The sound is Unreal. Not many shows get 5 stars from me not sure why just haven't givin out many but this here is 5 all the way
Reviewer: sakanaband - - February 14, 2011
Subject: Luminous
This is arguably the great over-looked show of this era. The Stranger opener is so spot-on as to seem like it was mid-set or even a second set opener. The crowd must’ve been stunned and their reaction at the end hints at this. Peggy-O is just, well, perfect. Big RR Blues is smokin’ hot and sounds like Garcia is dancing on top of the very strong backing of the rest of the band. Bird Song is my favorite from this period of the Dead. The only ones I think surpass it are 8/27/72 & 6/22/73 but those are just too wild. This version of Bird Song is light years beyond the famous Cole Field House version later in the week that though about 18 minutes in length sounds like Jerry is drunk or forgot about the rest of the band or both. This one is concise, focused and has mini-jams inside that are group improvisation at its finest. Deal is yet another example of the super cool combined group effort where the band is just easily wailing and conjuring up pretty wicked ju-ju.

The China is listed as over 11 minutes long and not a note is wasted. Jerry flubs the lyrics to the first verse before spending the remaining ten minutes radiating mature mastery of both guitar and voice. Same telepathic and inspired group-think improv here as evidenced in Bird Song earlier. Rider is a connoisseurs dream: not flashy or too clever, but almost outrageous intricacy and searing heat. And speaking (writing?) of heat, the Samson blazes and is a perfect group rock and roll statement. The outro jam of He’s Gone generously explores the wonderful cascading musical figure typical of that jam with the crowd on percussion and then for the last three minutes or so there is a simply fantastic and rare Type II jam bursting with ideas and again is notably focused and composed. Killer, killer stuff. The Black Peter is typically great for the era with superb concert sound and lovely flourishes from Brent and Bobby. Casey Jones finishes things up with a classic warm breeze feel.

Of course this all captured perfectly by Jedi recording master Bob Wagner. Screw SBD’s! This is about a million time better. All instruments are perfectly represented in three dimensional glories from the sweet spot of a small classical venue (first row center balcony). Vocals are precise and in awesome stereo with superior presence and mix. The audience is plenty enthusiastic but mostly overwhelmed by this stunning performance. The band surely made some life-long fans in Cleveland that night. This and the MSG 05/09/81 & Nassau 05/06/1981 shows are perhaps the best shows of what was their last truly great year. Garcia’s voice is still pure and young and his guitar tone and technique is simply masterful. His guitar playing is expressive, melodious and often quite. I came in to the scene in 1985 and saw some real keepers: Hershey ’85, Alpine 88, Formerly the Warlocks ‘89, Cap Center 1990. It was all pretty wonderful, but it wasn’t night after night after night of shining glory like this era and a few eras before it. Be here now or be there now. Both are pretty darned great places.
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